【摘要】：周立波的“海派清口”是在保留和傳承上海本地的單口滑稽的說(shuō)、學(xué)、做、唱風(fēng)格的前提下，以一種清新智慧的表現(xiàn)形式，，傳播一種快樂(lè)的思維方式和幽默人生態(tài)度的言語(yǔ)藝術(shù)。與傳統(tǒng)相聲加入一些創(chuàng)新元素的郭德剛相聲不同，它在汲取上海本地的單口滑稽、北京單口相聲和香港“棟篤笑”等曲藝表演形式精華的基礎(chǔ)上，已跳出了上�；鼞虻娜ψ�；與依賴色情笑話、“葷口”、“粗口”的二人轉(zhuǎn)等純商業(yè)演出也不同，它是運(yùn)用后現(xiàn)代主義元素，緊貼時(shí)事、財(cái)經(jīng)和民生，并將其娛樂(lè)化的“清口”。2008年推出的《笑侃30年》、《笑侃大上�！泛汀段覟樨�(cái)狂》等“盤點(diǎn)系列”，以及鳳凰衛(wèi)視推出的《壹周立波秀》系列，是其主要的表現(xiàn)舞臺(tái)。 論文在收集所有周立波“海派清口”影像資料和文字資料的基礎(chǔ)上，從關(guān)聯(lián)理論的視角審視“海派清口”言語(yǔ)幽默機(jī)制的形成以及制造其言語(yǔ)幽默的語(yǔ)用策略和修辭策略。論文認(rèn)為，形成“海派清口”言語(yǔ)幽默的機(jī)制包括：運(yùn)用最大關(guān)聯(lián)與最佳關(guān)聯(lián)的碰撞、運(yùn)用明示信息刺激隱含的意圖、通過(guò)額外努力創(chuàng)造額外效應(yīng)等。其產(chǎn)生幽默效果的語(yǔ)用策略包括：利用話語(yǔ)內(nèi)容與形式的“不和諧”、利用詞語(yǔ)歧義、語(yǔ)音混雜以及詞語(yǔ)合并后再縮寫等。其制造有效的言語(yǔ)幽默的修辭策略包括：結(jié)合具體語(yǔ)言材料，采用心理期望之突然撲空式、經(jīng)驗(yàn)與現(xiàn)實(shí)之矛盾沖突式以及情感郁積之巧妙釋放式等。 從關(guān)聯(lián)理論的視角對(duì)周立波海派清口言語(yǔ)幽默的形成機(jī)制與制造策略的研究，是一種新的研究視角，它可以拓寬了關(guān)聯(lián)理論應(yīng)用的范圍。其研究成果在既對(duì)觀眾更好地欣賞海派清口的言語(yǔ)幽默有所幫助，也對(duì)海派清口作品的創(chuàng)作以及相關(guān)言語(yǔ)幽默藝術(shù)作品的創(chuàng)作具有一定的指導(dǎo)和啟示作用。
[Abstract]:Zhou Libo's "Shanghai School Qing Kou" is a fresh and intelligent form of expression on the premise of retaining and inheriting the local Shanghai sing-mouth funny saying, learning, doing and singing style. The art of communication of a happy way of thinking and a humorous attitude towards life. Unlike the traditional crosstalk with some innovative elements, Guo Degang has jumped out of the circle of Shanghai farce on the basis of absorbing the local comedy of Shanghai, the essence of Beijing crosstalk and Hong Kong's "Dong Tu-xiao" etc. It is also different from pure commercial performances such as relying on pornographic jokes, "dirty mouth" and "rough talk". It uses post-modernist elements to keep abreast of current events, finance and people's livelihood. "Qingkou", which is entertaining, is the main stage of its performance, such as "laugh and laugh 30 years", "laugh big Shanghai" and "I am a financial frenzy", and Phoenix Satellite TV's "one Zhou Libo Show" series is its main performance stage. On the basis of collecting all the images and characters of Zhou Libo's "Shanghai School Qingkou", this paper examines from the perspective of relevance theory the formation of the mechanism of verbal humor and the pragmatic and rhetorical strategies to make it. The paper holds that the mechanism of forming the verbal humor of "Shanghai School Qingkou" includes the collision between maximum relevance and optimal relevance, the use of explicit information to stimulate the implied intention, and the creation of additional effects through extra efforts. The pragmatic strategies to produce humorous effects include the use of disharmony between the content and form of discourse, the use of lexical ambiguity, phonetic confounding and the combination of words and abbreviations. The rhetorical strategies to produce effective verbal humor include: combining the specific language materials, adopting the sudden emptiness of psychological expectation, the conflict between experience and reality, and the skillful release of emotion accumulation, etc. From the perspective of relevance theory, the research on the formation mechanism and manufacturing strategy of Zhou Libo's Qing Kou verbal humor is a new perspective, which can broaden the scope of relevance theory application. The research results not only help the audience to appreciate the speech humor of the Shanghai School of Qing Dynasty, but also have some guidance and enlightenment function on the creation of the Shanghai School Qing mouth works and the related works of verbal humor.
【學(xué)位授予單位】：廣州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H13

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